"Shark Night 3D" Soundtrack Lyrics

"Shark Night 3D (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a PG-13 shark thriller sound like when it leans on tension instead of gore? Shark Night 3D answers with a compact, percussive score that keeps the water glassy until it doesn’t — arrival, adaptation, rebellion, collapse — then spikes your pulse with short, staccato cues. Graeme Revell’s music knows when to lurk and when to lunge.

The official album is essentially a 32-minute sprint of set-piece scoring: cue titles follow the story beat by beat (“First Attack,” “Malik Injured,” “Gordon Attacked,” “Blake Attacked,” “Nick and Dennis Fight”), while a handful of party/club needle-drops inside the film establish the college-weekend vibe before the panic sets in. It’s lean, functional, and cut for big-room speakers and quick edits.

Beyond orchestral menace, the soundtrack nods to contemporary party cuts — a few rap/alt-pop songs pop up in the lake-house scenes — but the album release sticks to Revell’s cues. According to trade credits and retailer metadata, the film’s music team kept placements sharp and sparse to let splashes and screams do half the work.

Genres & themes, in phases: synth-percussion suspense — stealth and scanning; aggressive brass/low strings — jump-scare strikes; party rap/electro — denial and pre-attack bravado; action ostinatos — flight, rescue, sacrifice.

How It Was Made

Composer Graeme Revell (a veteran of water-and-monster tension) wrote a cue-driven score built around pulse, sub-bass swells, and short cues that can be dialed in and out of 3D action without muddying dialog. The track names mirror story beats so editorial can track impact precisely.

Music supervision aligned a small set of licensed songs for the lake-house party atmosphere (Top Johnny!, King Fantastic, Cook Classics) while keeping the heavy lifting on Revell’s side. As per a studio-side review credit, Joe Rudge handled music supervision on the film, pairing bar-friendly bangers with the lake’s ominous quiet.

Tracks & Scenes

“Opening Titles – Shark Night 3D” — Graeme Revell
Where it plays: Title card and first boat approach. Broad lake wides, then quick inserts of gear and smiles; the music sits low, nervy, with a rising swell.
Why it matters: Establishes the film’s rule: sunny images, uneasy sub-bass.

“First Attack” — Graeme Revell
Where it plays: The early surprise bite that flips the weekend’s tone. The cue is under a minute — all impact and aftermath.
Why it matters: Minimalism as jump scare; the music exits fast to let the sound design carry shock.

“Malik Injured” — Graeme Revell
Where it plays: On the dock chaos after the wakeboarding scene, as the group scrambles to triage and plan a hospital run.
Why it matters: Panic in pulses — strings saw, percussion hammers, decisions get rushed.

“Taking Malik to Hospital” — Graeme Revell
Where it plays: Boat-through-chop sequence; cut with GPS shots and argues-under-breath dialogue.
Why it matters: Action ostinato that sells distance, time pressure, and the lake’s new rules.

“Gordon Attacked” — Graeme Revell
Where it plays: Night water. Flashlight beams wobble; the cut goes wide, then the hit. Cue swells then drops out to screams and prop churn.
Why it matters: Lets the attack land as sound — music as spike, not wall.

“Blake Attacked” — Graeme Revell
Where it plays: The race-to-rescue sprint turns to dread. The cue’s short length mirrors the bad odds.
Why it matters: A musical gut-punch; the track title is the spoiler and the warning.

“Nick and Dennis Fight” — Graeme Revell
Where it plays: Third-act confrontation on the houseboat/shoreline. Percussive hits line up with blows and water splashes.
Why it matters: The only cue that feels like a brawl — catharsis before the lake bites back.

Party needle-drops (not on the score album)

“Love You Like an Animal” — Top Johnny!
Where it plays: Early house-party vibe: someone cranks the stereo while coolers open and swimsuits appear. Diegetic.
Why it matters: Establishes college-weekend bravado to make the tonal whiplash nastier later.

“All Black Ying Yang (The Party Song)” — King Fantastic
Where it plays: Trailer-home/party cutaway; bass rattles the thin walls while a lakeside scare brews outside. Diegetic.
Why it matters: Contrast cue — inside: swagger; outside: teeth.

“Bouncer” — Cook Classics feat. Avriel Epps
Where it plays: Quick montage connector around party bits and lake prep. Diegetic or implied source.
Why it matters: Light, cocky energy that will read as denial in hindsight.

Notes & Trivia

• The score album runs ~32 minutes across 19 cues — all by Graeme Revell.
• Label line reads ℗/© 2011 Cutting Edge; the digital release hit stores before U.S. opening weekend.
• Music supervision paired a few party tracks with the lake-house setup; the commercial album focuses entirely on the score.
• Cue titles track the plot almost beat-for-beat, handy for scene study.
• The film was released as Shark Night domestically and marketed as Shark Night 3D widely.

Music–Story Links

When the group arrives, the soundtrack stays in source mode — party tracks, jokes, and wakeboard swagger. The first bite flips the mix: Revell’s percussion takes over, dialogue thins, and water/engine sounds dominate. As the body count rises, cues get shorter and more percussive, underlining how plans keep collapsing. By the final confrontation, the music punches in tight, then yields to splashes, rotors, and ragged breathing — the lake is the real score.

Reception & Quotes

Reviews panned the movie but often noted its serviceable “ride” pacing — a soundtrack built to goose jumps without drowning out the splashy mayhem. The album itself plays like a mini-movie: cold open, shocks, sprint, showdown.

“A joyless 3D excursion, though technically tidy.” trade reviews

“Revell keeps it moving — short cues that hit like dorsal fins.” film-music columns

Interesting Facts

• The U.S. title card reads Shark Night; marketing and many listings add “3D.”
• Japan’s campaign used a rock tie-in theme song; the U.S. album remained score-only.
• Because cues are so short, editors could swap or loop passages to match stunt timing.
• Cutting Edge released many genre scores in this period — this one arrived day-and-date with the film.
• Several fan playlists mix the party songs with Revell’s score to reconstruct the full film experience.

Technical Info

• Title: Shark Night 3D (Original Motion Picture Soundtrack)
• Year: 2011
• Type: Film Soundtrack (Score + on-screen source songs in film)
• Composer: Graeme Revell
• Music supervision: Joe Rudge
• Label: Cutting Edge
• Album release: August 30, 2011 (digital)
• Runtime/format: 19 tracks, ~32 minutes (digital/streaming)
• Selected placements: “First Attack,” “Malik Injured,” “Gordon Attacked,” “Blake Attacked,” “Nick and Dennis Fight” (score); “Love You Like an Animal” (Top Johnny!), “All Black Ying Yang (The Party Song)” (King Fantastic), “Bouncer” (Cook Classics) appear in film scenes.
• Film credits: Directed by David R. Ellis; music by Graeme Revell; distributed by Rogue.

Questions & Answers

Is the album mostly songs or score?

Score. The commercial release is Graeme Revell’s cues; party songs heard in the film aren’t on the album.

Who released the soundtrack?

Cutting Edge handled the 2011 digital release of the score album.

Which songs play at the lake-house party?

“Love You Like an Animal” (Top Johnny!), “All Black Ying Yang (The Party Song)” (King Fantastic), and “Bouncer” (Cook Classics) pop up as diegetic cuts.

Does the music match specific kills?

Yes — many cues are named for the beat they score (“Gordon Attacked,” “Blake Attacked”), making it easy to map to scenes.

Is the trailer music on the album?

No — trailers use marketing cuts; the album compiles only Revell’s film score.

Canonical Entities & Relations

Sources: retailer listings and label metadata; trade reviews/credits; song credits databases; streaming album pages; trailer archives.

November, 27th 2025